Nightcomers, The (1971)

What happened before the new governess arrived in The Turn of the
Screw? Or, if you prefer the film version, in The Innocents
(1961). The gardener and former governess are dead and we are given
to believe that they had a corrupting effect on the children, who saw
things they shouldn't have. Exactly what were these people up to?

Now we can see the whole sordid truth. Irish rogue Quint had a taste
for bondage and degradation and posh Miss Jessel just couldn't tell
him "no". The children are indeed watching and have to try it for
themselves. Thankfully, with clothes on and no actual sex that we know
of. It's all rather perverse. The director cleared it with the British
censor first, but it turned out that all the censor wanted was to meet
Marlon Brando.

Stephanie Beacham provides buxom, submissive expanses of skin. Brando
was said to be pretty rough in the sex scenes, doing what he wanted,
which was quite a bit. He must have been in a Last Tango mood around
then. As porn it is both soft and raw, if that makes any sense.

How does it all work as a film? More as an oddity than as a valuable
work in itself. In recent conversation we wondered if
The Night of the Following Day (1968) weren't
Brando's most obscure film. This one ought to be in the running.

Jerry Fielding's classical score is lovely but much too grand for this
project. I hear "Down By Sally Gardens"; if I had the soundtrack I'd
listen for other folk themes.

Available on DVD. The director provides a tell-all commentary track:

The little girl was actually 19, dressed to look younger. At the end
of shooting Brando said "Nice ass. Wish I'd noticed it sooner."

Brando had been rejected for The Godfather (1972) when he made
this. None of his previous 11 films had made money, so he was not
exactly box office gold.

Winner did not find Brando difficult to work with: always punctual,
generous, professional. Sometimes strange and childish, and a big
practical joker.

He also got on with other actors judged temperamental: Orson Welles,
Robert Mitchum, Burt Lancaster, Faye Dunaway.

He found camera and lighting men who could work quickly, doing 30
set-ups a day rather than the usual 5 or 6. I suspect the actors
appreciated that, being able to get on with the film rather than
waiting around.

Too many Brando stories to repeat. He had a permanent girlfriend
with him on the shoot and also a constant stream of other flames
passing through. How did he manage that? "You have to have the right
smile".

He wanted to be really drunk when telling a drunken story to the
children, so they shot that scene at the end. Definitely plastered,
but perfect.